Paroxysm
of Eroticism
Paroxysm
of Exoticism
The Eternal Lesson of Seduction
The Eternal Pleasure of Desire
Seduction
- Hello. - How's it going?
Just fine, you?
Who's that guy over there?
It's Volga!
That's the Crazy Horse. You want to put the shadow film on?
What's the name of the shadow film again?
"Bernardine" was what you called it a little while ago.
Yeah that works. Do you mind opening the curtain all the way?
love that clapboard.
Can you kill the floodlights please?
That's it. Arch it, arch it. . .
Push your body forward more.
That's it, arch it.
How long have we got? Two hours?
Koko, Lumina, Zola. . .
Let's do that again.
Stretch, shrug, stretch, shrug. . .
Thanks, girls. You can go back to the dressing room now.
Take a shower. Two of them, even.
Are you listening?
You can't touch the strip of mirrors on the side of the netting.
We're going to need to see some lights.
Can you come down here please?
Should the letters be in the middle?
Yeah.
Is the backdrop centered? It might not be perfectly centered.
Is it really perfectly centered?
That's what we said, you'll have to end up that way.
Then you go up. . .
And do a turn.
That's it.
Now I pull off your skirt.
You slide down. . .
First I turn around like this. . .
And then. . .
I help you go up.
You grab yourself and do an undulating movement.
And again.
The same thing. My body against yours.
I make a gesture, and you move away. Like so.
Then, arms back with the music.
We come back with a broader movement. . .
And we turn around.
Did you get it? Want to try?
Lada paused a bit.
OK, Zula, the closed eyes look real good.
It makes you look relaxed, like you're in a state of abandon.
And you change position. . .
Three. . .
Four. . .
Careful now, with meaning...
One!
Three. . .
OK it's hot, you're gonna open your helmet now. . .
Three, two, three, four. . .
You get up slowly.
You're still really hot. So hot you have to get up.
OK here comes Lumina.
head over to the peephole.
Go over to the peephole, Lumina.
Look at each other.
And it's going to change again. . .
OK leave the peephole... And appear on the other side.
First contact.
That's it! Second contact.
You're gonna make contact in front of the peephole.
Lumina, you're too far upstage, and Zola, you're too far back.
Again in front of the peephole.
OK come off the conveyor belt. . .
Now give a kiss.
On your knees now...
Body back.
Lower that butt.
And now start.
That's it.
Come together. . .
and separate. . .
Now come together again.
Now you can do something to end it.
You need to work on perfecting that approach.
That thing scares me!
Very good.
We need to turn off the stage lights.
Girls, change places. You, the three new girls:
Stay close together.
Try to really feel each other.
Yasna, you're doing good on the right, but not so good on the left.
Curve your hand a bit, Yasna.
Bend your right hand. Not too much. Higher.
Perfect.
Thanks.
The issue of lighting is different.
We got rid of the "Vestal" to free up all the side lights.
They were all blocked with black light for the "Vestal."
Now that we don't have the "Vestal" , we'll be able to use them
and change the colors on the sides.
This work is going to require. . . I'm speaking in your name, here...
That we take this opportunity to clean the lights;
they have a whole layer of dust on them.
Then we are going to need to really carefully go over all the show lights,
with the girls fully clothed,
to see what needs to be changed about the side lights.
The side lights are the ones that really give the body definition,
and they're the basic lights for dance.
They define the bodies and delineate them.
We need to take better advantage of that.
And this overall revision brings me back to my usual request:
If we could just close the place to do it for a little while; otherwise we..
Philippe, I'm sorry, but the answer is no.
We aren't going to close.
I'd really like it if you'd think it over because otherwise we can't do it.
It'd be better to talk to Philippe L'Homme.
I know that he's going to say no.
Well if we really want the place to make a big step forward,
in terms of the quality of the show. . .
We want this to be the greatest nude dancing show in the world
and we're trying to really remake the whole genre,
then we need the means to do it.
If we want to have an opening that intelligent viewers will love,
it's going to have to be like that.
There are certain things we just can't do without closing for a little while.
All I can do is pass on the shareholders' opinion,
which has been the same for a whole year.
I don't see that there's absolutely no way to do it in a legal sense.
I understand that it would be a problem to pay sixty people for nothing.
A few of them could even do some work, helping clean the lights.
But there has to be some kind of a solution we can find. . .
There are plenty companies where people stop work for a bit . . .
They take vacations.
And they don't go bankrupt or anything. It really is perfectly feasible.
I don't know, I'd like to find some kind of solution.
I just still think that if we want to have a really classy show September 1st
we're going to have to close for a minute to set it up.
The shareholders won't accept the idea of closing up shop.
There will come a time when they'll have to understand.
- They have their needs, but so do we. - I agree.
They want us to put on a quality show here,
and that has certain implications.
Among which is closing for a bit.
Otherwise quality will be compromised.
And I'd be the first one to feel disappointed about that.
I think it's really important.
I'm not trying to cheat anyone, I really just think it's important.
When you see how effective our "Evolution" show is. . .
I mean, these are pieces we've been working on for years now.
It's really inhuman to give us only one or two weeks to do all that.
We have to have the same amount of room that we had for "Evolution,"
we worked on that for years.
I can put all my best effort, all my talent into it
but I'll still be mistaken about some things and we have to work them out.
I can't produce three new pieces blindly.
The finale is really important too, and we need a new. . .
well, give me an estimate of how much time you'll need.
The finale, by the end of July.
I've asked for more time three times already,
I'm under a lot of pressure here.
I mean, I'm always trying to get more...
We have to think about what it means to create this.
I agree, but. . .
If we're going to have a new finale,
and we manage to fix up the transitions,
we'd basically have a whole new show. Don't you agree?
We'd have four or five old numbers instead of three,
but the general spirit of the whole show would be really changed.
If we change the intervals and the overall sequence. . .
I agree with you, but the shareholders aren't into it.
They've said they only want to see three of the old numbers.
- I can explain this to them. - OK.
I can't say any more.
They constantly say that this wasn't what they agreed to.
Creativity isn't something that can exist in a controlled environment.
I know they're thinking in business terms,
but all the same - this is still art.
It's like if they ordered a painting
where there was the sun over here and some cows over here,
and they wanted the cows somewhere else. It's art! You can't just do that!
Maybe it would be good if you went in to defend your position.
But I do agree with you completely.
OK so we're going to do a program for all of Summer right?
I also want to do "Venus" .
- What happened with that number? - Didn't I tell you already?
It's happened several times that the girls ran off the stage crying.
They don't like touching themselves.
They don't like touching each other like that either.
It's like, there's a very strange culture here actually.
Contrary to what it might seem, these girls aren't really sluts...
And they don't like doing that kind of thing.
They're quite prudish really.
When we ask them to get a little closer to each other,
it's like they run up against an invisible wall.
They can't get past a certain point.
They have a hard tiime acting the fool.
Not many of them are really able to do it.
We'd really need to work on that number,
to make it more interesting from a technical perspective.
Zula had an idea that I liked but that we'd still need to test out,
which was puting ski boots on the rotating cage.
the main astronaut girl could lean in all directions.
It might be fun and interesting,
but it would mean some work and it'd be a technical challenge.
We'll see.
Can we see the second group?
We're a centimeter and a half off here.
Start it.
And the third time start again. . .
. . . and go over there.
Then continue. . .
OK you're too. . .
You have to do it all from the side.
That makes it a lot better.
It's the shadow dance.
Go on.
One. . .
And two. . .
Next a little explanation about the shadows.
I orient my body. . .
The focus is like a camera lens, the focus is here.
It's a bit strange,
but the movements need to be like that
otherwise it's like you have no neck.
Give a bit better definition to the little cat-pounces.
When you do a cat-pounce, slide to the side a bit.
Don't just stand there.... that's it, go to the side.
OK girls it's 6 pm, let's call it a day.
Thanks a lot, girls.
Perfect. Diamond Category. What restaurant?
"Devez" or "Francis" ?
Very good.
For two?
What name should I put down for the reservation?
Your first name please.
Michel. . .
Can I get your cell phone number?
Will you want to be billed separately?
Good evening. They're going on stage in 25 minutes.
Good evening, call up a dancer to the control room please.
Just a dancer? Any dancer at all?
- Zula, I gave you the. . . - Yeah, thanks.
I simply adore the show. there's a few things that need revising,
Like whether or not to use wigs,
but the music is really happy and fun. It sticks in your head.
What I don't like is the finale.
We really need to work on that; even more than on the finale.
In what respect?
It's missing something... it has no thrust to it.
Good evening.
Thanks.
- It's us. - Indeed. . .
Somewhere over here.
- Here? - Maybe.
Take this gentleman to 41 7.
He was in 212.
I hope you like the show.
Good evening.
Say cheese!
He's got to be nuts!
He's a star in Russia, he's a Bolshoi soloist.
He's popular everywhere.
He's got a good physique.
This is really unique...
The ground looks slippery.
They're dance rugs.
Looks hard.
It's really hard.
And you can tell.
Pretty funny huh?
We can hardly make it out...
We see the darkness of a long robe trailing along.
We can make out the white of a Summer dress...
I am but a shadow.
And you... are light.
- Are you in that "Scanner" number? - No.
But you could try it out, if you don't mind.
There's going to be a switch in scenes.
We might not end up doing the "lnfra-red" number
until the weekend.
Did you already know that?
Yeah, they decided yesterday. Philippe let me know a bit ago.
"Scanner" is far from ready.
but we'll try to get it finished.
If this lady doesn't mind taking that off. . .
And we'll try out something new for the "Venus" number.
It'll be more like. . .
a Formula 1 car race championship.
JÃ©rÃ´me also told me yesterday that we'll need to try out dresses.
- Alright. - The new dresses. . .
For you.
You really want to change it? The one I'm using now is great.
The material looks really nice with the lights.
It's pretty, but there's something bothering me about it.
The material really shines when you're dancing while leaning over the table,
and instead of making your butt look nice and round,
it makes it look bony.
The light draws an outline of your ass.
it makes. . .
your ass look bony and not round.
the new dress,
since the material is duller, it gives more accent to the curves.
the light doesn't catch on it,
and it's more elegant for that executive look.
it's got a more elegant touch.
I also loved the other material,
but with the light. . .
it's just too shiny.
it doesn't really favor the silhouette.
We want to show nice round asses
but that isn't what we get with this.
we also thought the material was too fragile
for constant use.
but meanwhile you can use it.
but let's try out the new one.
Daisy already did and it looked great.
Come in, JÃ©rÃ´me.
I had a hard time undressing this girl.
you can undress in the booth there and then come with me.
got anything for me to put on my feet?
want some flip flops?
i'll get them.
you're off time again.
the three in back are doing something different.
What Lumina is doing is cute.
they look a bit like cheerleaders. . .
I'm satisfied today.
OK, we're moving forward; everything's going fine.
I'm going to make a list of what they asked me to revise; it's huge.
And the finale? is it "No Way" ?
Yeah, today it's "No Way" .
- Tomorrow it will be "No" . - I'm tired of asking over and over.
- I'm a little bit. . . - Stubborn.
But since I also try to give them what they want. . .
When I talked to the boss, he seemed satisfied.
It's all good.
I went to meet him and said: "Fire me; I didn't satisfy my contract.
"I take responsibility, but I want to justify myself.
"There are various problems we really need to resolve.
"If sometimes I may not be efficient,
"it's for reasons that are out of my control.
"We take two steps forward and one step back,
"We cancel numbers like "Venus" and "Scanner" . . .
"I don't just agree with everything every day.
"If you find someone who will, please go ahead and hire him."
Aside from that, are you satisfied?
I am passionate about my work.
Right now my work is the Crazy Horse show
and that takes up all my time.
I see what's wrong and try to fix it.
For the rest, when nothing's wrong, I leave it alone.
But sometimes, I get really disturbed.
When I see a show like the one we had last night,
where we had excellent dancers and technical teams,
compared to other, weaker shows. . .
But even so there were some little errors in all the numbers.
What I'm frightened of is that margin of error.
The day before yesterday the infrared lights broke down. . .
It's those little details that make the show either good or bad.
first it was the "infrared" curtain, which was all off kilter,
the image wasn't as it was supposed to be,
then they forgot to put the lace ove the light on Daisy's butt,
so no one could see anything. . .
this is supposed to be the world's greatest nude show,
and we're capable of making it happen.
but when something goes wrong,
when we need to wait 10 minutes before a number starts,
we look ridiculous.
I'm worried because I know how fragile the team can be.
BÃ©go talked about creating a hierarchy in the control structure. . .
That might be interesting. . .
I'm trying to do that. I've got to talk to Maurizio.
But he's not really convinced.
I think Rico should be the scene director.
He's a reliable person.
If there's any problem, people would go talk to him.
When the curtain was all off, it was nobody's fault.
it's a rule of the house which is kind of dumb. Anyone can trade roles.
It may make sense to do that for dancers, but not for technicians.
yesterday i tried to explain that to AndrÃ©e and the boss:
"imagine that today you're directors, tomorrow secretaries, then doorkeepers,
and then the next day you're in sales... It's just impossible."
That's why they need to know how to do everything.
They have to know how to replace each other.
The system needs to be completely changed;
otherwise it will remain totally fragile.
it's ok that they should all know how everything's done; they won't need to do it or anything...
there have to be specific responsibilities.
certain technicians don't know how to do certain things.
we need to acknolwedge that and put them in their specific places.
and accept our limitations.
Accept that there are certain things we don't know how to do.
that's why I don't do the "Que Calor" number
I'm going to give you a compliment: you're the greatest.
Even yesterday you did "Que Calor!" .
You don't really like that number, but you do it anyway.
you make us laugh. you're funny.
that's generous of you. it's just the way it has to be.
Today is World Biodiversity Day
and the theme of this show will be invasive exotic species.
this species digs holes in the ground.
the water gets muddy.
we have to coordinate the work methods between the two workshops.
we can't be changing the plans constantly,
cancelling one thing and starting another,
a new idea, one girl instead of two. . .
these kinds of constant changes between the two workshops
were really driving me crazy the other day.
We're doing a half-assed job,
and that's far from the tradition at this place.
At the production meetings we don't check over anything,
and I don't really even want to participate in them because I have other work to do. . .
Roselyne kept you up to speed.
That was what we'd agreed. The new dates. . .
It's my fault; I admit it.
Things are just constantly changing.
At all the meetings we almost always end up changing everything.
- But there are reasons for that. - I know!
- I don't want to waste so much time. - I try to be. . .
You must understand that it's impossible for us to do quality work here,
with the same enthusiasm that we had at first
and with results that make us all proud.
Working this way, all we can produce is shit.
We can't just do whatever we want with the Crazy Horse girls.
They do the splits, they expose themselves to the audience. . .
the girls are naked; we can't be throwing water around.
the costumes might not be important to you, but they are to us.
If we don't have time to check over everything to be sure,
with AndrÃ©e, Roselyne or you. . .
let's agree to have a creative meeting every week at least;
it's been three weeks that we haven't had any at all.
there haven't been any creative meetings.
as for the production meetings, they really need to be held every week.
What do we do? I can't go on like this; I'm going nuts.
I came up with the title "Make me Crazy," but I wasn't talking literally!
I was talking about the guys in the audience. The girls should make them crazy. . .
Not me! I love working, I love what I do,
I love the girls, I love making them look pretty.
I can't ruin all of Roselyne's work, the image of the Crazy Horse club,
I can't ruin myself.
I can't just stay quiet as a mouse
or say "it's not my fault." that's absurd.
we have to be proud of what we do.
at first we felt very proud, but at the end. . .
I don't want to leave the Crazy Horse in a bad state.
that was the goal of this meeting.
Either we need to agree on what we're doing from start to finish,
and decide how to divide up the work
and at the end of the week straighten needles with Thibault,
or if everything just keeps constantly changing, I'll have to quit.
It would make a lot more sense for it to be you
that supervises the whole costume area,
so it is coherent.
that was what they asked me at first.
i think it makes a lot more sense.
i supervise choreography, music and structure.
If we delegate those tasks to someone else a lot of confusion will arise.
with the costumes it's the same.
you have to supervise the costumes as a whole.
as for the method, I confess I'm a bit lost. . .
we have an approval process, which Thibault designed.
it's normal that there should be a validation process.
you have to approve it, and AndrÃ©e and Roselyne do too.
all this happens in such an anarchic way,
where we were all creating at the same time.
- We need to know who's doing what. - We are always creating!
We move forward so fast we stop even feeling like we're creating something.
Lumina, these women are like competitive animals.
They start by gauging each other,
they stare at each other, circle each other,
they size each other up,
to decide who's the strongest, the most beautiful, the most competent.
then there's a seduction phase with a touch of rivalry to it,
which results in a kind of battle filled with love and hate,
and in the end the one kills the other.
OK start.
turn your hips up.
Don't swing it too much, stand more sideways.
come forward and kick.
Baby, back up a bit. stay in line with the others.
to the side.
Lena, keep your hips up.
don't lower your head.
final posture.
thanks a lot girls.
can i hang this up?
let's start from. . .
is this it?
Good!
now to the back.
and turn.
OK, yeah, I know what happened.
you told yourself to do something which was incorrect.
here's fine.
when you pull to the other side. . .
don't do a retirÃ©, come right over here.
that's why you're getting behind.
It's my fault, I didn't explain properly.
bring down your foot and turn.
that's it.
that gives you more time.
I told you to do it with a retirÃ©,
but the retirÃ© takes too long and then you're off time.
leg down, foot down; that will help you turn.
that's it.
and now go on.
today's trial went really well.
OK now we're going to set up the finale! We're going to do "Desire" !
it's fine just like that. . .
Now I know what was so perfect about "Stars of Paris."
it's because the three rows of side lights were on.
yeah but we have a problem there. we have no lateral lighting.
the conveyor belt and the letters don't have lateral lighting on them.
but we can get some on there because it creates an atmosphere. . .
yesterday there were some moments when all the lights were on
and we even had those strobes. . .
aside from basic lighting, we'll have to add those too.
Not all the time, but there should be a kind of progression
so we get more and more light on there...
you guys are trying to do too many things at once.
I mean, we need the lights in terms of aesthetics,
and they need to be totally tied to the music.
What I did in "Jungle" , with Dita,
was to try to do the lights manually, without recording a lighting program...
We have to record one, for tonight!
It's been two days now that we've been doing it manually!
We can check them together.
Can we get a near-naked girl to fit inside a letter?
Near naked?
Just like that is fine.
It'd be even better if the letters were animated.
- to be frank. - Just like that is fantastic.
But we can't have everything happening at once.
We agreed to put the animation in with the curtain down.
And with the animated letters.
When the curtain goes up, the letters remain there.
And at that moment, the girls are in position.
Or we can cut off the animation and light up their faces. . .
If you ask me, it's too fast.
when the curtain goes up, we can only see silhouettes,
the girls are in position.
their faces only get lit when they start singing, because that lasts longer.
I understand your idea about the first image, but it doesn't work.
we can't put any animation on those letters.
there's got to be an opening, maybe with cigarette smoke,
that would have a great impact.
Silicone. . .
. . . bust size.
OK and let's see those straps then...
they're adjustable but not too much.
let's see your back.
If the straps are too tight,
no one can see the curvature of your back.
for that we need. . .
OK i think it's fine like that.
we have to see the fringes. You know where they are?
No. . .
I'll ask Roselyne for them.
This has to be a centimeter longer.
That's better.
you're too close together. try fixing it. . .
you're taller so we have to try to compensate.
Try to find the right position.
you're slightly off center.
OK it's better if you have your butts almost totally together, but not your backs.
push your body forward more.
See? looks like a sausage.
- That's it. - Right. Thanks.
Play with your fingers. sensual fingers.
- You're not listening. - Yes I am.
Diagonally. One arm in the light and the hand pointing towards it.
That's it. That looks great.
And here you lift one arm and slowly bring down the other,
as if you were outlining what you're taking off. Don't. . .
the movements need to be fluid.
Stretch it... stretch it... and off it comes!
Very good, Liv.
I was always a great admirer of the Crazy Horse.
It was more than admiration, it was an obsession.
I went to see the show like 40 times, I was here all the time,
I sang the songs to myself all day. . .
And now I can't do that anymore because I'm on the team now so I have to be calm and focused.
I put on music from Crazy Horse at home, it drives my assistants nuts,
they can't stand hearing "You Told Me l'm a Good Girl" anymore.
I'm really pretty obsessive. I've gone through a number of obsessions.
Saint-Laurent, Marlene Dietrich, Helmut Newton, the Crazy Horse. . .
It's one of my great obsessions.
And when I'm obsessed with something I dedicate all my time to it.
They're details that Philippe doesn't care about,
he has sort of a different idea about femininity.
I know that he's gone through some tough times here,
maybe because he's worked here for so long,
with a lot of people involved and giving their opinions.
Philippe is. . .
he's an extremely democratic guy, he listens to everyone's opinion.
that's not how I am. I only listen to two or three people.
Maybe I'm a bit of a dictator. . .
you're the show's co-director?
I'm the artistic director; Philippe is the director.
I'm the art director because I came in after him
and a lot of the numbers had already been designed.
the art director. . .
deals with designing the concepts.
there were some numbers we designed together, others Philippe designed.
my role involves bringing in another perspective
and following up on what he does.
Philippe's the director and he's the one that designed most of the numbers.
I'm the art director, sure, but those are just titles.
both of us are so involved in everything that the roles get all mixed up.
But it's Philippe that. . .
is really in charge.
and he deserves it, because he has a ton of talent and experience
and a legitimacy that gives him that right.
OK, the same thing now.
the same thing, let's go.
Begin.
you moved back again.
sing with the playback, girls.
you're one with the chair.
OK, now, the girlfriends. . .
where's the other girlfriend? we need the other one, number 6.
you moved your hand too soon, Linda.
the screen!
Very good, now they need to go on singing.
There are two numbers that are going to be real classics.
It's pure "Crazy Horse."
and at the same time, they're totally innovative.
you have to see it to understand.
he really captured the essence of the place,
but created something totally. . .
almost revolutionary.
Mr. Bernardin must be applauding in his grave
and thinking: "if I were there that's what I'd do."
What number is that?
"Rougir de DÃ©sir." [blush with desire]
Mr. Bernardin had a very unique concept of eroticism.
what's yours?
the most important thing is suggestiveness, seduction,
but contained, not obscene.
I agree with Mr. Bernardin about how it is the fruit of frustration and imagination.
It's the fruit of dreams. Dreams are very important.
It's kind of like. . .
. . .our brand image.
The Crazy Horse perfected a certain kind of art,
which consists in empowering, celebrating and transporting
womanhood and the seductive and erotic game of womanhood,
in an extremely sophisticated, inspiring way. . .
inspiring for women.
not everyone agrees with me,
but I think that Crazy Horse. . .
well, I won't say that women like it more,
but it might be the only place where you have nude dancers
and women like to come see the show too.
we have a really big female population in the audience.
it's almost like that's the key.
When women are comfortable with the key to eroticism, men enjoy the benefits.
that's my opinion.
The key to Eroticism belongs to womanhood.
Well it works both ways.
yes, it works both ways.
exactly.
now can we see. . .
- a blue light instead of a red one? - No.
I want to see more colors to find out if any of them look better.
You want to switch over the colors on the side lights to see what's best?
that's really far too. . .
Too red.
you lose the red on the cords.
- that's not bad. - dark blue. . .
- the Congo blue doesn't look bad. - it's interesting, yeah.
Let's take a look at "Ã‰toiles de Paris" .
This is perfect.
one, two. . .
that's it.
careful. . .
the last one. . .
is Ali particularly interested in costumes?
I'm interested in everything. costumes and everything else.
but I'm more interested in costumes than Philippe is.
Philippe is a dancer, and he sees the body as an instrument.
Myself, I'm interested in the way people are transfigured.
the way a woman transforms herself into. . .
the fantasy vision she has of herself.
women have the capacity,
using what nature gave them,
to use artifices, tricks and strategies
to transform themselves into something totally different.
what's important isn't their basic beauty but what we do with it.
After 25 years of age, a woman's beauty
is something she needs to conquer and build for herself.
there are no 'ugly' women,
only women that refuse beauty because they deny their femininity.
and there are lazy women.
any woman with good attributes
can go far beyond the features she was born with.
sometimes there are girls that are very beautiful when they're young,
but age poorly.
they put all their trust in the beauty they were born with
and don't make any effort to preserve it.
they get obsessed with their vision of themselves as young girls.
On the other hand - and you can see this clearly at the Crazy Horse. . .
here they are all beautiful.
But, sometimes, the most anatomically beautiful
are not the best looking ones on the stage,
because they rely too much on the beauty they were born with,
which makes them feel too secure and keeps them from taking it to the next level.
The ones that have more complexes develop strategies and personalities
that help them overcome their disadvantages.
this makes them even more beautiful and fascinating on stage.
It's as if all the love in the world were not enough for them.
The whole city of Paris Comes to the Crazy Horse
The Crazy Horse is Paris
The SacrÃ©-Coeur
There's a SacrÃ©-Coeur [sacred heart] in every Crazy Horse girl
The Crazy Horse girls are like Soldiers -
Soldiers in the erotic army.
D-E-S-I-R-E
The Crazy Horse girls taste like champagne
Champagne tastes like Crazy Horse girls
The Champagne runs between their fingers
The Crazy Horse girls
All Paris Is at the Crazy Horse
The Crazy Horse is Paris
D-E-S-I-R-E
Crazy Horse
That was the best.
Let's do it over once more.
- What are you doing, Ma Nahia? - She doesn't get it.
Is it because you're new here?
Are you Spanish?
I've been working here for a whole year!
But you're not like Nooka, Zula or Psycho.
Oooh, a breeze!
It's good for you.
still, we might catch a cold...
Is the switch now?
there's no switch, it's a slide.
- But in "lnfrarouge" . . . - there isn't one.
I don't really like it, sorry.
What don't you like?
The choreography is far too tied to the music.
Whenever there's a pause. . .
But, you know, it's not so bad.
- It's the old "Jungle" number. - Yeah but with a girl in back.
This one comes from "Evolution."
It's too bad, because that number's really. . .
- Oh I love this part. - It's beautiful.
Impressive.
The other one is stronger, I agree.
I like the idea of doing the lighting like they were leopards in a cage.
- The lights are good. - Beautiful.
they look like panthers.
you can't see the girl in back!
because she's dead.
it went out.
we could have seen her die!
OK I'm going to explain quickly. do you all speak French?
I'm going to explain how the audition goes.
it's simple, don't be afraid.
it really is easy.
you're all going to go on stage with nothing but tiny bikini bottoms on.
and shoes, if you want.
You'll be on the stage, with nice lighting,
there'll be music, and you'll have to improvise for one minute.
when you're done, come off the stage, and we'll talk.
this audition is above all to evaluate your proportions and your look.
it's not for dancing skills or acting skills.
Anyway, we'll see whether you know how to dance soon enough,
but it's not worth it to get all excited about that.
Pretty, stylish, relaxed.
and push your butts back.
she fainted before the audition...
an ambulance had to come.
- Today? - Yeah.
Thanks. You can stay there on stage. Kill the music please...
OK can you take off your shoes?
Stand in the middle. The sixth.
Can you put your knees together?
OK let's see the same thing from the side.
Thank you.
Look at her size... she has no breasts...
That's enough.
Thanks, Maurizio.
We don't hire transsexuals.
I think it's charming.
Cyrille, open the curtain and kill the lights.
OK dancers all up on the stage in a line, without shoes.
Pretty good sample. . .
Sorry girls, please just stay where you are,
we need to compare sizes.
I know you probably feel silly. . .
First. . .
- Third. - Fourth.
I don't know, I don't know. . . that one over there.
The fifth, with the blue bikini bottom.
And that one.
tell them to step forward.
Girls, I don't remember your names.
Let's count from the control room side.
That's it, right there.
The second one.
the fourth.
the fifth.
What's her name?
Olivia. I remembered her name.
The next one. Melissa.
And the last one, Tatiana.
We've got six.
You don't want to keep the Italian?
With the nice ass?
Really nice.
all the way to dance tryouts?
the one who's always dreamed of working at the Crazy Horse?
I don't like her.
- The Italian. - That one.
The girls in front can stay.
The others can go to the dressing room I'll be there in a second.
Come closer together.
You're tiny, Olivia, but that's not bad.
Tiny is cute, it's not an insult.
The second one looks like Kate Moss.
It's true.
She has short legs.
It's not important.
You mind turning around?
And straighten your butts out.
Far out.
more.
How many Russian girls are here?
They're the best ones.
Those two are the best, don't you think?
they have some space between their thighs.
That's not bad.
Same thing from the side please.
That one's pretty.
Really cute, yeah; and she's got attitude.
Thanks, you can go back to the dressing room. I'll be right there.
Not bad at all!
It's a kind of apotheosis of beauty in its different forms.
For us it's a real joy to work here.
Sometimes, when I'm trying out girls, I have to say to myself
"I'm not just watching a tryout, I'm directing it"
and I almost have to pinch myself
to believe that I'm not dreaming and really am involved in this spectacle of beauty, elegance and desire.
- Does that answer your question? - Perfectly.
And now tell us in English, with the same eloquence.
"I am going to drown in your eyes. May I?
"It is pure joy to drown in your eyes.
"I'll come and say: 'I love you so much.'
"May I?
"It isn't easy to love. It's hard. Very hard.
I’ll come close to a steep cliff
Will you catch me in time?
If I go away, will you write to me?
I can’t be without you. I want to be with you.
Not for a minute, not for a month. Forever.
All my life, do you understand?
I’m afraid of your answer
Answer me, but don’t say a word
Answer me with your eyes.
Do you love me?
If you do, I promise
that you’ll happy with me forever
If you don’t, then I beg you,
don’t look at me, don’t kill me
If you want to love someone else, do it
But remember me just a little
I’ll go on loving you. Agreed?
Like it or not, I’ll love you
and I’ll always be there for you
whenever you need me.
‘Crazy...’
‘Paris...’
‘Paris comes to the Crazy’
‘The Crazy is Paris’
‘The Eiffel Tower...’
‘The Eiffel Tower is all lit up like a girl of th
‘The Crazy is Paris’
‘Paris comes to the Crazy’
‘What is your name?’
‘D-e-s-i-r-e!’
‘You’ll dream of the Crazy naked in your bed’
‘The girls of the Crazy will watch over you’
‘D-e-s-i-r-e!’
‘The girls of the Crazy taste like champagne’
‘Champagne tastes like the girls of the Crazy’
‘Champagne flows through your fingers’
‘The girls of the Crazy!’
‘Paris comes to the Crazy’
‘and the Crazy is Paris.’
‘The Sacred-Heart’
‘There’s a Sacred-Heart in every Crazy’s girl!’
‘You saw Crazy’s girls like soldiers’
‘They are the soldiers of wrotica army,’
‘D-e-s-i-r-e!’
‘The girls of the Crazy taste like champagne’
‘Champagne tastes like the girls of the Crazy’
‘Champagne flows through your fingers’
‘The girls of the Crazy!’
‘Paris comes to the Crazy’
‘and the Crazy is Paris.’
‘D-e-s-i-r-e!’
‘Crazy!’